As humorous appendix to his great work Titan (1800-1803) Jean Paul placed the text aboard Journal Giannozzo aeronaut, who recently published the editorial Gallo Nero in Spain. But who or what is Giannozzo? For exactly the perfect picture of the character type of transition between the Enlightenment and Romanticism. Such a character prototypical proto-Romanticism that filled that F. Schlegel called sick wit. In "Letter on the novel" Schlegel Amalia dialogue with the strange prose of Jean Paul. Amalia says Jean Paul's works are full of wit sick. This disqualification, the irony of Schlegel, seems wonderful. Yes It's true, it is unhealthy and that ingenuity is fascinating. But what does it mean that the novelist must carry a heavy dose of wit sick? Schelegl says: "I attach the colorful mixture of wit sick, but I'm out in his defense and hold strictly to such grotesque and confessions are by far the only romantic productions." For Schlegel's confession, the narrative of self is the centerpiece of the new novel to produce novel expanded flame (Novalis will like to talk about poetry expanded). But this is not a linear and maudlin confessional, but a veiled confessional, where the narrator plays to show and hide in the act of writing. And later adds Schlegel, perhaps taking some novels in his head, as follows: "And what trip report, which collection of letters, autobiography which would not be for those who read them in a romantic sense, a novel better than the best of all those? ". Not interested in the confessional as a fact but its distortions. He writes: "What has also added confessions no longer seems strange, when you recognized a true story is the foundation of all Romantic poetry, and if you reflect on the matter, you will easily account and you will be convinced that the best of the best novels is not nothing but a self-confession, more or less disguised author, the result of his experience, the quintessence of its particularity. " In this character so called confessional evening in a fascinating character autopseudista .
Jean Paul is a model of this novel. One of the authors Schlegel has in mind as it represents (along with Sterne and Diderot) model overcomes the above. Jean Paul, from the idea of \u200b\u200bthe sublime ridiculous plays to establish a conceptual review of the whole aesthetic of the present. In his work the highest philosophical concepts will be faced with the reality stupid. And in a book like Journal airman aboard the Giannozzo perfectly demonstrates his wit sick. Well, but again, what or who is Giannozzo? We could say that, while imitation of Jean Paul, is a nihilistic kind, full of dissatisfaction with life, uninterested in the world, tired of human stupidity. Is in fact, a portrait of the character who has lost all reference in the social world. In this context, Jean Paul is and is not Giannozzo. Cleverly, in the preface to the newspaper, Jean Paul stands as editor of the book, marking the distances with respect to the alleged author of the newspaper and with respect to the reader. But their presence is continuous throughout the text. More than we can understand the presence and constant interference in the development of the text. Jean Paul appears on this trip in two ways: a) through the notes, and glosses, added to the text to extend or criticize, b) and also intrudes through autoparódica quoted, ie Giannozzo will talk about the work of one Jean Paul. Thus the text, a formal level, it raises issues of concern such as the issue of authorship, which is suspended (or blown) through references to the footnotes, for example. But not only is remarkable in formal terms this piece but also the narrative level (storyteller, even) offers inseparable elements of the formal processing. First, it drew attention to the construction of the character, Giannozzo, and another review of landscape concepts that are ridiculed by the alter ego of Jean Paul. Let us see something about Giannozzo. Jean Paul describes it: "This Giannozzo, a relentless rate, ready to carry off everything, tired of living in a prosaic century [...] plunged into a deep bitterness at seeing that people are able to lie and deceive others as he shows his softer side, convinced of the need to forcefully rejected warm praise and capricious, [...] this man, whom the air of a dungeon and the lanes gave him a great distress that he had decided to extend their hands into the ether to find freedom in the mountain air .... " But what did Giannozzo? Then simply leave the land (literally so) to live in a balloon (which he calls Lazareto ) and look down the world under his feet as the control room of the aircraft was the glass floor to see "to down there." And this is something we know from the diary of Giannozzo, Jean Paul finally recovered and show the world. Giannozzo writes: "Below are a hundred mountains, rendered in a giant snake, threatening the human anthill angry with the poison of lava flows and avalanches, while up here in this quiet, sacred region, no you notice anything that happens below, or voices, or groans, or pomp. " He adds: "If I am to be honest, I live up by pleasure and for those who live below me are truly disgusting."
Giannozzo sees itself as a ghost in life that observes the movement of the world. This is the story: "I thought about the possibility of being a ghost ... [...] It would be great to enjoy the privileges that the spirits use their masks, take a frightening figure and go around scaring people. [...] Yes, sir! I would not let a day pass without organizing any mess. " This fantasy of being an invisible spirit is what leads to the aerial life, away. He adds: "However, when I inflate my balloon and rose into the air, something unexpected happened. [...] [N] o soon occurred to different ways and strategies to act on men in an efficient, throwing stones and carrying ballast, down from the sky like a revenant , throw on these sinners like a hawk or become invisible keeping me high in an area of \u200b\u200blow pressure. " This, then, another traveler, very different from the typical romantic traveler. As a kind of renewed Diablo cripple, describes this distance and unease to the world as follows: "I looked through the glass floor of my car and used a long vision goggles British army to see the gardens and streets. I could see what was happening in every home through the windows and go to comedy, with vocals included, interpreted every time there's a visit. " He added: "Our mission is to watch." Just as in Sterne, Jean Paul plays every sense fracturing lifting aesthetic discourse. That is, the sublime is skillfully ridiculed by the juxtaposition of high and low elements. Jean Paul, as nihilistic and sentimental traveler, describes the sublime ridiculous that double look at the same time, to as high and the banal, as follows: "Your feelings acted as sensitive probes which managed to penetrate the beauty of nature, either the stars or that of a dung beetle. "
With his ship, perfectly designed and furnished to contemplate what was happening at his feet, runs the Alpine scenery that had generated so much sentimentality of the time travelers. However, its distant position, ironic, even cynical, leads him to see the Alps as a vulgar excuse for travelers to select a narcissistic sentimentality. Jean Paul ridiculed the passion alpina. While Giannozzo flies that huge "piece of rock," he wrote in his logbook: "There is no doubt that mountains are a good lugar para hacer acopio de sentimentalismo”. E incluso él mismo se da cuenta mientras viaja por los Alpes: “¡Cielos! ¡Veo ante mi cuarenta caminos y todos desembocan en la broma!”. Jean Paul desconfía de los grandes conceptos, como el de lo sublime, y desconfía, precisamente, por ser un concepto que ha perdido su sentido psicológico para transformarse (Kant mediante) en una categoría estético-moral-cultural. Su descripción es inevitable: “Pero esa noche, hacia las once, se levantó una espléndida tormenta, demasiado hermosa y demasiado sublime para aquella ciudad de trámite, que vivía día a día”. ¿Cómo puede darse lo sublime in a "city of procedure? Impossible. Unthinkable. Even talk of "outgrowths of the sublime." "The same thing happens when a poet, with the collaboration of its public release in the theater or stool on paper what we know as virtuous feelings." Finally, it is sublime, as a kind of crude revenge, which ultimately killing Giannozzo, who perishes in a storm while flying over the Alps. He writes, not without irony, by the end of his book: "The wind blows fresh leads me directly to the Alps, where he could land this evening after having spent the day writing and eating. It's what I've been. My ship is full of food, but I have drunk and eaten so much that I think every time it flies higher. " The shocks are increasing until finally his death and falls senses: "I'm falling! The fog, steam envelops everything! I do not see anything. " Adios, she says, and disappears.
Summary of read: The crushes is a novel which deals with issues that are "always there", which is thought so much severe ( (¿?)), not hold in which there is much talk of the human soul (in which one can reflect) and nooks, where there is "unfathomable folds" and passions around to a crime and where manipulating conditional and subjunctive tenses of the book along with a lot of luxury and ostentation, appearing here, since it is "great literature" - "with its true face."
HIGH LITERATURE DECAFFEINATED
(Fragments divagational)
None of us were "original" in the sense romantic than many people associate a genius. However, most of science, engineering and software development is not done by geniuses, but the mythology hacker hold otherwise
Eric S. Raymond
Why bother to make art when you can quit, get a real job, enjoy higher standards of living and use your time to sit to see American movies on video super well built?
The Bank
in English literature is a tendency (A topic on many interviews and articles) to consider that have broken the boundaries between high and low culture, and somehow the pop culture has destroyed the old border. But is this so? From one perspective ( naif y) somewhat cool is easy to point to write about or include fragments Belén Esteban television series or theorize about the Simpson implies a total fracture of the border. That as good multiculturalists borders have been demolished and there are no differences. However, this approach falls into the fallacy embodiment of which Terry Eagleton speaks. Fallacy that is to believe that by talking about certain things in certain terms is closer to that thing. Eagleton said: "Language and reality are not two objects as one ends, that can be placed at different distances from each other." In this sense we can speak of the fallacy of pierced border, which is considered by talking about particular situation or particular pop icon is closer to the popular. This, as we know, is a nineteenth-century fashion, modern artists whose playing, as indicated by Perry Anderson, "a plebeian parodically identification with the underdog and ambitions of would-be understood regarding the above. "
However, in reality, in this process or current strategy, thus creating a third territory, a third language, rather than popular culture and beyond high culture (understood FJO remains as in the manual, in the cultural archive, use the words of Boris Groys). Talking about the Simpsons is not breaking any barriers between high and low culture but to create a third territory, a third speech. Actually there are three different languages \u200b\u200bthat are mixed but are not confused. The Simpson or Dexter, por poner dos ejemplos al azar, sobre los que el teórico (o el escritor) escribe no son los mismos "Simpson" o "Dexter" que vemos a la hora de buscar entretenimiento (o que el tiempo se entretenga en nosotros), pero de la misma manera tampoco son los *Simpson o el *Dexter que son considerados frívolos y cínicos por la alta cultura o la academia (extraño fantasma éste al que es fácil golpear pero sobre el que se piensa muy poco). Es decir, más que teorías o poemas o novelas sobre esos objetos pop lo que hace el escritor o el teórico es alegorizar sobre ellos. Sí. Retorna la alegoría. Craig Owens hacia 1980 señalaba en "El impulso alegórico" que la base of allegory (in his return postmodern) involved the rewriting of "a primary text." He added, "the allegorical meaning supplants another meaning antecedent is the supplement." This supplement is the third language that is built when an author believes (or pretends) to overcome the boundaries between high and low culture. That is, establishing a new kingdom where he is the patriarch, but did not break any arcane border. Allegory would imply (by Benjamin) to empty out some to reassign one direction rather than the same something , bringing its cool effect. And somehow, and Owens is an example, this approach would what happens to a large extent in all discourses that seek to overcome this barrier ghost is something of a nostalgia of the postmodern philosopher stealing words Domingo Hernández Sánchez. Such nostalgia can be seen in the tendency to use elements outside the literary tradition itself being introduced as a way to create a different speech from the appropriation techniques and materials. In this sense, one of the theoretical to the most is often used in current literature to defend a certain position is Nicolas Bourriaud, who texts as relational aesthetics or Post-production noted the new path for contemporary art in the territory of the assembly. This is the use of materials for construction and mix and subsequent work. Project he notes as an extension of modernity and in Post-production described thus: "modernity continues today in the practice of DIY and recycling of culture, the practice of everyday life and time arrangements, which are no less worthy of attention and study messianic utopias or formal developments that characterized yesterday. " In a recent text entitled "Splendor and ruin of a paradigm: The relational, Paris, Madrid, Madrid-Leon ", Juan Albarran described perfectly the weariness of the relational and nostalgic sense," Bourriaud modern project aims to recreate the shedding of ideological dogmatism and teleological readings while outmoded postmodernity assumes (without ever explaining what it means for him this confusing concept.) And yet, the taste for the appointment, by recycling, DIY culture, by the appropriation and recontextualization of artistic references, the eagerness to take on a new artist elements that are beyond the sacred space of art "make us think in the nostalgia of the postmodern. It is perhaps this nostalgia, through new forms of appropriation that we see, also, part of English literature. Nostalgia of a postmodernism that we have not really had, nostalgia takes now that the postmodern is diluted, the face or disguise the sampler or dj, but it would still be nostalgia .
What really exists "from one object to dialogue a TV series or a" piece "of Wikipedia, is currently used to a lesser or greater extent, with every intention of rebuilding reality differently, ie artistic purposes. Such use may be highly intelligent and important to our tradition, as in some cases. However, post-production and sampling technique (also in English literary version) no longer be at all nostalgic, very conservative in two senses: first, as that would eliminate any critical sense of what used and, secondly, as an extension of this inactivation critical, while having a wild interest in commercial success. It first gives a good account of himself Bourriaud when trace their relationship to the situation (which is likewise dismantled). In the intervention strategies, within the situations, the diversion and copying act as role models antiideología virally, denying any authority, and any historicist division between past and present, but in addition, this intervention involves a constant devaluation of art, a critique of its own foundations. However, the intervention strategies of the post completely off making it soft and situationist strategy, especially domesticated. Bourriaud himself acknowledges: "Situationist handling procedures without seeking the abolition of art." That is the conservative strategy. None of criticism of the institution or the artistic or literary market. More Moreover, need for it. Since Duchamp, the appropriation of what exists was a critical sense, or towards the art itself or out, the reality. However, these current appropriation strategies closely resemble that example that put Wittgenstein in Philosophical Investigations , one example of the subject that bills passed hand to the other and thought-proud-to be making new economic transactions . From this, precisely, warned Douglas Crimp in the eighties, noting the conservatism towards which certain appropriation: "the strategy of appropriation becomes just another academic rank-one theme, through which the museum organized its objects.
This attitude is seen also in the algebraic form through which Eloy Fernandez Porta defined in Afterpop, independent scene: "The independent scene is the result of the presence and value works based on an attitude coolhunter , assuming that your first destination is the slipstream and maintaining mainstream as unknown, ie the opposition as a factor which may occasionally create a space " . This is another way to get back to the words Perry Anderson, quoted above, about modern life: "a plebeian parodically identification with the lower and ambitions of would-be understood regarding the above." Or put another way: the independent scene involves the relentless pursuit of novelty (modern mind) knowing that the reception of your work may be marginal , conditioned by the fact that a work outside the central tendency dominant, but-and here comes the interesting-looking sideways at the same market (and its dominant thought) if it is possible that "be you" who let go. Ie "I want to be like you, but now reject me. " Or, in other words, pure melancholy and domesticated state. Therefore the mainstream is a question that can be opened to our state of melancholy. And why can open? Because "the art market the marginal needs to feed its hunger for novelty, the manufacture of marginality [part] of their business." Julian describes it in his Stallabrass High Art Lite (published in Spain by Brumaria). Is the market creating the margin, this marginalization. But not only creates the margin, but that disables all critical sense (to keep in a state of melancholy). He adds Stallabrass, "the decision to move material from low culture to high culture and even has political baggage." He concludes: "this transfer is merely voyeurism has become cult." As in the parable of Wittgenstein, we spent the day moving things from one hand to the other and we do good business. But, and here is the mystery in the air, what does this mean? Is there only one negative reading? We leave it for now by quoting Domingo Hernández:
" the result seems to be the placing of such a speech to two expectations: either we become all postmodern and so we can continue to enjoy the exhaustion of the many drills and networks of signs, or we become outdated Situationist strategies guided by nostalgic, romantic and, at best, utopian. I say the best ... because the worst thing is clear: put in the very dialectics of the show. "
[This text is part of the book in preparation literature lite High ]
